The color-temperature filters for color film basically balance the spectrum of the light source to match the response of the film, they don't cut out an entire portion of the spectrum as sharply as color filters for B&W film. This doesn't mean that you can't use them on B&W film, however. Just expect that their effects on B&W film may be less pronounced than a sharp-cut filter.
The #85/85B filters are meant to balance daylight for use with films balanced for tungsten light (3400K and 3200K respectively) by cutting out green-blue. The transmission spectrum shows that wavelengths shorter than 400nm (i.e., toward the blue end of the spectrum) are almost completely blocked. The transmission then increases in a curve to where 700nm is at maximum (approx 95% transmitted). The area from 400-600nm curves relatively gradually from about 10% to about 90%.
Compare this to a #15 deep yellow (orange) filter. It blocks all wavelengths shorter than 510nm almost completely. Then transmission increases quite sharply so that by about 550nm transmission is up to maximum (approx. 95%).
This means that an 85/85B filter on B&W film would work kind of like an inefficient #15 filter, with a less sharp cut and more transmission of green. That might be just what you need, but for most applications, the #15 is going to give you better results and is readily available. If you don't have one, then the #85 would be a (less effective) substitute.
On the other end of the spectrum (literally) are the #80 (A-B-C) filters designed to balance daylight film to tungsten light by cutting out red-yellow and some green. They work similarly to, but more weakly than a #44 cyan filter. A #44 filter on panchromatic film approximates the response of orthochromatic film; a nice look for some subjects. Unfortunately, the #44 filters are only available as gels. I use #80 filters with B&W film as a substitute for the #44 when I'm in the field and don't have my gel holder and gel book with me. They do the job well enough.
Hope this helps,
Doremus
